Tómas Örn Tómasson

A soldier, which army, which era, unclear. What’s clear is the evil he’s done. Faced with his impending mortality, he fears being judged in the afterlife. Only immortality will do. He meets a talking rock who promises just that - but he’ll first have to face his fiendish deeds...

Saga gets hit by a fierce epileptic attack walking in a public park with her six-year-old son resulting in a total memory loss. Afraid of being considered unable to take care of her son, Saga attempts to hide her state from others and occupies herself digging for the answers she needs from within. As she struggles to gather bits and pieces from her forgotten life, repressed memories that Saga unconsciously blocked as a child suddenly start to come back, revealing a painful truth about herself and her past.

Senior citizens Hófí and Pétur feel discarded by a system that has no use for them. They're tired of living in a poorly retirement home and plan to rob a bank to finally buy a place for themselves. Standing in their way are both hardened criminals and inept cops, but these are the most sly seniors around and they're going to show everyone that you can still teach and old dog new tricks...

Óskar and Maggi are two brothers, longing for love but seemingly doomed to stay single. Óskar shies from relationships but is secretly in love with his childhood sweetheart Anna, engaged to another and safely out of reach. Maggi on the other hand is overly eager and goes from one relationship to another, hoping for eternal love each time. A film about the complexity of human relations and the searching for love.

北極圏の雪原地帯に不時着したパイロット・オボァガード。壊れた機体をシェルターとして利用し、食糧確保や救難信号の発信など、自ら定めたルーティーンをこなしながら、救助が来るのを辛抱強く待つ。そしてついに、救助ヘリコプターがやって来るが...

Mihkel boards a ferry from his small town in Estonia to Saint Petersburg in Russia, on his way to Iceland, where he wants to make a new life for himself and his fiancée, Vera. His friend Igor, who emigrated to Iceland a few years earlier, convinces Mihkel to smuggle two bottles of liquid amphetamine and then seek payment from an 
Estonian priest, who is a business partner of Igor’s in Saint Petersburg. The priest is then to set him up in his new home and bring Vera over to join him. Rather than getting paid, he is instead coerced into swallowing seventy drug capsules to take on to Iceland. He arrives in Iceland and is picked up by Igor and his two Icelandic accomplices, Jóhann and Bóbó. However, in the next two days it becomes clear that something is wrong and Mihkel cannot pass the drugs. The Icelandic criminals become very nervous, and more and more frantic activity ensues as the situation becomes more serious.

前作で描かれた人類とKAIJUの死闘から数年が経過し、平穏が戻っていた地球。しかし進化を遂げたKAIJUが再び姿を現した事で、つかの間の平和は脆くも崩れ去る―。さらに、謎の黒いイェーガ―"オブシディアン・フューリー"の出現により、人類を守るはずのイェーガ―同士による激しい戦いも発生。果たして、スタイリッシュに洗礼されパワーアップした新世代のイェーガーに乗り込む若きパイロット達は、迫りくる危機を乗り越える事は出来るのか。

When the Icelandic banks collapsed in the autum of 2008, taking most of the economy down with them, Ari Alexander took his camera and started to film what was happening in this tiny but relatively stable and affluent society. He filmed the ever-larger protests that in the end led to the downfall of the government. He took interviews with people shocked and confused by what was going on around them. He went to conferences and seminars where scholars tired to work out what had happened and what should happen next. He followed the endless debates and negotiations around the Icesave-accounts set up by Icelandic banks abroad. Every day brought fresh news of the complicated and often illegal deals made by financiers and bankers in the years leading up to the collapse.

Icelandic artist and musician Ragnar Kjartansson’s often intensely durational performance-based works manifest a rare synthesis of pathos and humor. A Lot of Sorrow is both a music video and an extended concert film, in which Brooklyn-based band the National performs its three-and-a-half minute ballad “Sorrow” on repeat for six hours. The band’s music and lyrics frequently conjure notions of romantic suffering and melancholy—themes common to Kjartansson’s emotive, theatrical work. As the hours pass and fatigue sets in, the musicians subtly alter their song; the original track is always recognizable but is also shown to be elastic and expressive rather than rigid. Kjartansson is sometimes visible in the role of roadie, offering water and food to the performers throughout the concert. Multiple camera angles grant the viewer access to both the perspective of the musicians and that of the audience, as the band and the crowd feed off each other’s energy with every repetition.

A celebration of creativity, community, and friendship, The Visitors (2012) documents a 64-minute durational performance Kjartansson staged with some of his closest friends at the romantically dilapidated Rokeby Farm in upstate New York. Each of the nine channels shows a musician or group of musicians, including some of Iceland’s most renowned as well as members of the family that owns Rokeby Farm, performing in a separate space in the storied house and grounds; each wears headphones to hear the others. As the music begins and repeats, individual players stop, start, and move between rooms. Viewed together, the individual videos present an ensemble performance Kjartansson calls a “feminine nihilistic gospel song.” The piece itself sets lyrics from a poem by artist Ásdís Sif Gunnarsdóttir, Ragnar´s ex-wife, to a musical arrangement by the artist and Icelandic musician Davíð Þór Jónsson; the title comes from a 1981 album from Swedish pop band ABBA, meant to be its last.

A young man has to go to the hospital for an operation. Upon his arrival he watches paramedics roll out a deceased person from the hospital room he is about to be checked in to. Lying in bed with nothing to do his mind starts to wander. He strikes up a conversation about life with an old man who paints a rather dark picture of what can happen during one’s stay in a hospital. The old man shares his ironic philosophy on life, causing him great anxiety. Will he make it out alive?

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